Michael
Giacchino is now coming full circle - one of his first composing gigs was the
score to the video game The Lost World: Jurassic Park in 1997. So here we
have the newest follow-up in the Jurassic franchise, last seen in Jurassic Park
III (2001) with a solid score by Don Davis.

In
this film, we see the park finally open years later and of course it doesn’t go
as planned with the breakout of its newest “attraction”.

For
the score, we get a main World theme for Jurassic World, a family theme, action
motif for Owen & raptors, InGen theme, Indominus Rex motif and several recalls to John
Williams’ main Jurassic Park theme.

Here’s
the rundown!:

Bury
the Hatchling echoes the John Williams style horn call and an ominous buildup
with choir. We also get our first glimpse of the Indominus Rex
motif. The sweeter side of the score is represented in The Family That
Strays Together, giving us the family theme. Welcome to Jurassic Park is
the Williams original, with a slightly different orchestration. Still a
great theme and blends nicely with the new material when used throughout the
score.

As
the Jurassic World Turns starts off with the Indominus Rex motif on horn.
We get a brass fanfare and a large statement of the new main theme. The
orchestration really shows off the orchestra and makes this the stand out Giacchino
track on the album. After a calm section, it returns to the playful
woodwinds and another statement of the Jurassic Park theme to finish off the
cue. Clearly His First Rodeo starts off with some action material and
suspense involving the InGen theme before switching tone to the main World
theme in a light variation. Woodwinds and pizzicato strings dominate the
short track Owen You Nothing featuring a flirty motif for Owen and Claire. Indominus Wrecks
starts out with the flirty motif, matching the previous track. Things get
more mysterious, with hints of the Indominus motif over gentle flutes and
celeste. The action picks up with charging and swirling strings and
jungle drums.

Gyrosphere
of Influence returns us to the World theme, and as the kids explore in the
Gyrosphere, the music gets darker and mysterious. Pavane for a Dead
Apatosaurus gives the film (and score) a break for a tender moment led by piano.
We get a reprise of the family theme and a horn solo over a long-held low
string part. Giacchino has had simple piano moments since Lost, and they
are effective each time. The World theme works with different harmonies
as a piano solo, before the motif for the militaristic InGen enters with a
little suspense added.

Fits
and Jumpstarts has the family theme returning with a piano solo as the cue gets
more lively. The woodwinds start to take off in The Dimorphodon Shuffle, matching
the flying dinos of the same name. There is a cheerful rendition of World
theme snuck in near the end. Love in the Time of Pterosauria starts
with the string glissandos that Giacchino often uses, with trilling strings and
brass stabs taking over. The action music in this cue is great, and
expands the orchestra in range and style. A variation of the family theme
appears at the end of the cue.

Chasing
the Dragons is a great action cue with a strong brass moment and strong statements of Owen's raptors theme - making this
another album highlight. Raptor Your Heart Out keeps the action charging
along with a reference to the World theme among the raptor material.
Among the quick action, we are treated to a lovely callback (cameo?) of one of
his themes from his Lost World video game. Costa Rican Standoff combines
more past themes into the action – recalling the Indominus Rex and Owen’s
raptors themes. The brass has some strong hits among the pounding tribal
percussion. The choir enters with a statement of the original Island
theme (by Williams) that makes the moment really shine.

Our
Rex Is Bigger Than Yours pits dino vs. dino with a glorious World theme reprise
with choir. This leads to the rough chanting and choir, which really
stand out in this track. At a climactic moment, Williams’ theme from The
Lost World: Jurassic Park shows up as film score fans all cheer.

Growl
and Make Up deals with the aftermath of the island’s incidents by utilizing a
solemn version of the World theme. Nine to Survival Job returns us to the
family theme, slowly transforming into the World theme which crescendos to the
end of the Jurassic Park theme. The JP theme returns on piano in The Park
Is Closed and is mixed with the World theme, creatively written to almost
become one theme.

Jurassic
World Suite gives us all the themes in more expanded forms starting with the
Indominus Rex theme, theme for InGen, the family theme, and Owen and the
raptors music rounding out the track.

The
last four short tracks are all source music from the park, the proud march for
It's a Small Jurassic World, the lively Hammond Lab Overture and The Brockway
Monorail (a Simpsons reference, I hope!) Sunrise O’er Jurassic World was
composed by Mick Giacchino, Michael’s son. You may remember another of
his sons composing music for Dawn of the Planet of the Apes (2014). While
these short cues seem odd to tack on at the end of the album (and hardly heard
in the film), they don’t stop the album flow by being in chronological
order.

Giacchino
proudly displays his fondness and inspiration of John Williams on his
sleeve. Giacchino’s music interpolates Williams well (and even more than
on the album) without unnecessary comparisons between the two. In fact,
it’s impressive that some of the most memorable musical moments are by
Giacchino. In an action film with a trained raptor gang and big dinosaur
versus a bigger dinosaur versus a bigger dinosaur, Giacchino keeps it extremely
straight. In an insanely busy year for Giacchino, he has come up with
strong themes that work alongside each other and fresh action cues that expand
his musical and orchestral techniques. You can’t top Williams’ original
themes and scores, but Giacchino has added a worthy addition to the Jurassic
franchise.

Wednesday, June 24, 2015

James Horner (1953-2015) It is hard to put to words what James Horner has meant to me as a film score listener. His scores were always something to look forward to in a new film and his past scores were always a joy to return to. Upon ranking his best scores, I always find myself adding more films onto the short list I originally started with.For so much of the 1980's and 90's, he defined the sounds of films - he put his heart into all genres and made the film stand out. And to think of the audiences he reached with his music. He became a household name with Titanic with millions buying a score album that probably wouldn't otherwise. His music brought out the best in a film, holding some spectacular moments from Resolution and Hyperspace of Aliens, The Launch in Apollo 13, the Charging of Fort Wagner in Glory, the zip of The Rocketeer and Zorro, the Execution from Braveheart or Leaving Port in Titanic. Those dramatic moments are memorable beyond the film - the emotions always stay with you. After the blockbuster successes of Titanic and Avatar, he was more selective of his films, wanting a real collaboration. He even recently wrote concert music, which he hadn't done in years. I was so invigorated with his "return" with The Amazing Spider-Man, but his smaller films like Wolf Totem and For Greater Glory still stood out. This year, we are lucky to hear his last two films: The 33 and Southpaw. It is sad to think that will be the last of the scores of this talented man. So, let's honor James Horner: pop in your favorite score and enjoy.

Wednesday, June 17, 2015

It's time for a Screen Credit Quiz! Since the round of Alan & Alexandre and James & James was so much fun, let's add a new trio to the mix! Here's Round John & John & John. All the screen credits are by John Powell,John Debney or John Barry. Enjoy!

Tuesday, June 9, 2015

Another treasure trove of Composer Cameos! Just like the previous editions here and here, here's even more composers spotted in film and television! (Hopefully a few old and obscure ones too!) Enjoy!ANGELO BADALAMENTI

Badalamenti isn't pleased with his espresso in Mulholland Drive (2001)

ELMER BERNSTEIN

Bernstein (m) and Alan Bergman (l) pitch a song in From Noon Till Three (1976)